Patriotic Art: George Washington at Princeton

 

The American Revolution (1775 to1783) inspired generations of artists who sought to capture its drama, heroism, sacrifice, and ideals. While many works were created long after the events—often blending historical fact with artistic license and symbolism—these paintings have profoundly shaped how Americans visualize their founding struggle. They range from near-contemporary propaganda pieces to grand 19th-century historical epics. Among the best:

George Washington at Princeton by Charles Willson Peale (1779)

Painted during the war, this portrait shows Washington after his victory at the Battle of Princeton in January 1777. Peale, who knew Washington, captured him in a commanding yet approachable pose amid the battlefield. It is one of the most important contemporary portraits of the era.

Virginia in the American Revolution

Murder in Colonial Virginia

Patriotic Art: The Spirit of ‘76

 

The American Revolution (1775 to1783) inspired generations of artists who sought to capture its drama, heroism, sacrifice, and ideals. While many works were created long after the events—often blending historical fact with artistic license and symbolism—these paintings have profoundly shaped how Americans visualize their founding struggle. They range from near-contemporary propaganda pieces to grand 19th-century historical epics. Among the best:

The Spirit of ’76 (Yankee Doodle) by Archibald MacNeal Willard (1876)

Created for the U.S. Centennial, this depicts three generations of musicians—an elderly drummer, a younger fifer, and a boy—marching through a battlefield. It evokes enduring patriotism, resilience, and the Revolutionary spirit. Though not depicting a specific event, it became a quintessential symbol of American independence.

Virginia in the American Revolution

Secrets of American History

Patriotic Art: The Death of General Warren

 

The American Revolution (1775 to1783) inspired generations of artists who sought to capture its drama, heroism, sacrifice, and ideals. While many works were created long after the events—often blending historical fact with artistic license and symbolism—these paintings have profoundly shaped how Americans visualize their founding struggle. They range from near-contemporary propaganda pieces to grand 19th-century historical epics. Among the best:

The Death of General Warren at the Battle of Bunker’s Hill by John Trumbull (1786)

Trumbull memorializes the June 1775 Battle of Bunker Hill and the death of Dr. Joseph Warren, a prominent Patriot. The chaotic battle scene captures heroism and sacrifice, drawing on Trumbull's firsthand war experience. It is one of his series of eight major Revolutionary history paintings.

Secrets of American History

Murder in Colonial Virginia

Patriotic Art: The Boston Massacre

 

The American Revolution (1775 to1783) inspired generations of artists who sought to capture its drama, heroism, sacrifice, and ideals. While many works were created long after the events—often blending historical fact with artistic license and symbolism—these paintings have profoundly shaped how Americans visualize their founding struggle. They range from near-contemporary propaganda pieces to grand 19th-century historical epics. Among the best:

The Bloody Massacre (Boston Massacre) by Paul Revere (1770)

Though an engraving rather than an oil painting, this is one of the most influential images from the Revolutionary era. Paul Revere's propaganda print shows British soldiers firing into a crowd of unarmed Boston civilians on March 5, 1770, killing five. It exaggerates British aggression to inflame colonial sentiment and remains a powerful example of visual propaganda.

Secrets of American History

Love, Sex, and Marriage in Colonial America 1607-1800

Patriotic Art: Surrender of Lord Cornwallis

 

The American Revolution (1775 to1783) inspired generations of artists who sought to capture its drama, heroism, sacrifice, and ideals. While many works were created long after the events—often blending historical fact with artistic license and symbolism—these paintings have profoundly shaped how Americans visualize their founding struggle. They range from near-contemporary propaganda pieces to grand 19th-century historical epics. Among the best:

Surrender of Lord Cornwallis by John Trumbull (1820)

A Trumbull masterpiece in the Capitol Rotunda, this depicts the British surrender at Yorktown in 1781, effectively ending major combat. American and French forces receive the surrender (Cornwallis himself is absent, citing illness). The painting highlights the Franco-American alliance and military triumph, with careful attention to uniforms and figures based on Trumbull's research and portraits.

Virginia in the American Revolution

Secrets of American History

Patriotic Art: the Passage of the Delaware

 

The American Revolution (1775 to1783) inspired generations of artists who sought to capture its drama, heroism, sacrifice, and ideals. While many works were created long after the events—often blending historical fact with artistic license and symbolism—these paintings have profoundly shaped how Americans visualize their founding struggle. They range from near-contemporary propaganda pieces to grand 19th-century historical epics. Among the best:

 The Passage of the Delaware by Thomas Sully (1819)

Sully's massive canvas portrays Washington on horseback overseeing the Delaware crossing, with soldiers, horses, and cannons in dramatic action under a stormy sky. It emphasizes tension and resolve. Though less famous than Leutze’s version, it was an ambitious early attempt at the subject.

Secrets of Early America 1607-1816

Love, Sex, and Marriage in Colonial America 1607-1800

 

Patriotic Art: The March to Valley Forge

 

The American Revolution (1775 to1783) inspired generations of artists who sought to capture its drama, heroism, sacrifice, and ideals. While many works were created long after the events—often blending historical fact with artistic license and symbolism—these paintings have profoundly shaped how Americans visualize their founding struggle. They range from near-contemporary propaganda pieces to grand 19th-century historical epics. Among the best:

The March to Valley Forge by William B. T. Trego (1883)

Trego depicts the Continental Army's grueling winter march to Valley Forge in December 1777, highlighting hardship, resilience, and determination. Soldiers trudge through snow with Washington leading; it humanizes the suffering and endurance of the Revolutionary forces.

These artworks, while often romanticized, have educated and inspired millions. Many hang in major museums or the U.S. Capitol, and their reproductions appeared in textbooks, prints, and currency. They remind us that the Revolution was not just a series of battles but a profound story of ideas, sacrifice, and nation-building. For deeper study, resources from the American Revolution Institute and museums like the Met offer rich context.

Virginia in the American Revolution

How Martha Washington Lived: 18th Century Customs

Patriotic Art: The Declaration of Independence

 

The American Revolution (1775 to1783) inspired generations of artists who sought to capture its drama, heroism, sacrifice, and ideals. While many works were created long after the events—often blending historical fact with artistic license and symbolism—these paintings have profoundly shaped how Americans visualize their founding struggle. They range from near-contemporary propaganda pieces to grand 19th-century historical epics. Among the best:

The Declaration of Independence by John Trumbull (1819)

John Trumbull, a Continental Army veteran often called the "Painter of the Revolution," created this iconic scene of the Committee of Five (including Thomas Jefferson, John Adams, and Benjamin Franklin) presenting the Declaration draft to Congress on June 28, 1776. The painting idealizes the moment with key founders prominently featured in a grand hall. Multiple versions exist; the large one hangs in the U.S. Capitol Rotunda. It prioritizes symbolic unity over strict historical accuracy.

Love, Sex, and Marriage in Colonial America

Virginia in the American Revolution

Laugh Kills Lonesome by Charles M. Russell (1925)

 

Charles Marion Russell lived the life he painted. He arrived in Montana at age 16 in 1880, worked as a cowboy, sheepherder, and wrangler, and immersed himself in the open-range ranching culture, Native American life, and rugged landscapes of the northern plains. Self-taught and deeply authentic, Russell produced over 4,000 works, including:

Laugh Kills Lonesome by Charles M. Russell (1925). Cowboys around a campfire sharing stories and laughter under the stars, one of Russell’s late, reflective works.

A poignant meditation on camaraderie and the end of an era, it reveals Russell’s storytelling heart and philosophical outlook on frontier life.

Arizona Legends and Lore

Custer’s Last Stand: Portraits in Time

Bronc to Breakfast by Charles Russell (1908).

 

Charles Marion Russell lived the life he painted. He arrived in Montana at age 16 in 1880, worked as a cowboy, sheepherder, and wrangler, and immersed himself in the open-range ranching culture, Native American life, and rugged landscapes of the northern plains. Self-taught and deeply authentic, Russell produced over 4,000 works, including:

Bronc to Breakfast by Charles Russell (1908).  A bucking bronco disrupts a cowboy camp at mealtime, sending the cook and utensils flying amid laughter and chaos.

This energetic scene exemplifies Russell’s ability to blend action, humor, and daily ranch life, highlighting the unpredictable dangers and camaraderie of cowboy existence.

Arizona Legends and Lore

Gold, Murder and Monsters in the Superstition Mountains

In Without Knocking by Charles M. Russell (1909).

 

Charles Marion Russell lived the life he painted. He arrived in Montana at age 16 in 1880, worked as a cowboy, sheepherder, and wrangler, and immersed himself in the open-range ranching culture, Native American life, and rugged landscapes of the northern plains. Self-taught and deeply authentic, Russell produced over 4,000 works, including:

In Without Knocking by Charles M. Russell (1909).  Cowboys on horseback burst through the doors of a saloon, guns blazing and cards flying, in chaotic celebration or confrontation. Housed at the Amon Carter Museum.

One of Russell’s most famous “cowboy” paintings, it captures the rowdy, untamed spirit of frontier towns. Its dynamic composition and humor made it a cultural icon of Western saloons and revelry.

Arizona Legends and Lore

Gold, Murder and Monsters in the Superstition Mountains

The Tenderfoot by Charles M. Russell (1900).

 

Charles Marion Russell lived the life he painted. He arrived in Montana at age 16 in 1880, worked as a cowboy, sheepherder, and wrangler, and immersed himself in the open-range ranching culture, Native American life, and rugged landscapes of the northern plains. Self-taught and deeply authentic, Russell produced over 4,000 works, including:

The Tenderfoot  by Charles M. Russell (1900).A well-dressed Eastern newcomer awkwardly attempts to mount or handle a horse, surrounded by amused cowboys in a ranch setting.

It humorously contrasts greenhorns with seasoned cowhands, showcasing Russell’s storytelling wit and keen observation of frontier social dynamics.

Legends of the Superstition Mountains

Gold, Murder and Monsters in the Superstition Mountains

The Old West: Frederick Remington

 

Frederic Remington (1861–1909) was one of America’s most influential artists, illustrators, and sculptors. Though he spent relatively little time in the West himself, his vivid depictions of cowboys, cavalry soldiers, Native Americans, and frontier life profoundly shaped how generations viewed the American West. Working primarily as an illustrator for magazines like Harper’s Weekly and Collier’s, Remington produced thousands of works that blended documentary detail with romantic drama. His early paintings emphasized action and narrative; later ones shifted toward impressionistic techniques, nocturnes, and atmospheric light effects, reflecting his evolution from illustrator to fine artist.

Here are six of his most famous paintings, in roughly chronological order, with their significance:

A Dash for the Timber (1889). This oil on canvas shows eight cowboys galloping desperately toward a line of trees, pursued by Native American warriors. One rider is wounded and slumping in the saddle amid clouds of dust and gunfire. Housed in the Amon Carter Museum, it was one of Remington’s early critical successes.

Its importance lies in establishing Remington as a master of dynamic Western action scenes. Inspired by his travels documenting U.S. Army campaigns against Geronimo, it dramatized frontier conflict and courage, helping popularize the image of the cowboy as a heroic figure while reflecting the era’s often simplified (and stereotypical) views of settler–Native relations.

The Military Sacrifice (1890). A cavalry scout is shot and falls from his horse in a narrow rocky pass as his comrades rush forward. Vivid colors and precise details highlight the chaos of ambush. Now in the Art Institute of Chicago.

This painting underscores Remington’s focus on the U.S. Cavalry’s role in the West. It illustrates the constant dangers faced by soldiers and became iconic for its dramatic composition and emotional intensity, reinforcing public fascination with military exploits on the frontier.

Dismounted:The Fourth Troopers Moving the Led Horses (1890). Cavalry troops dismount to lead horses forward in a tense advance. The painting captures motion, camaraderie, and the practical realities of mounted warfare. Located at the Clark Art Institute.

It exemplifies Remington’s skill at depicting horses and military maneuvers from multiple viewpoints. Important for humanizing soldiers and showing the gritty logistics behind heroic tales, it contributed to his reputation for authenticity drawn from firsthand sketches.

The Old Stage-Coach of the Plains (1901). A dramatic scene of a stagecoach racing across the plains, often with implied danger or pursuit, rendered with sweeping movement and Western landscape.

It romanticized transportation and travel in the untamed West, capturing the isolation and adventure of frontier journeys. Important for its sense of scale and peril, it reinforced the West as a place of constant drama.

An Arizona Cowboy (1901). A stern, detailed portrait of a cowboy on horseback in full regalia—hat, chaps, pistol, and lariat—against a rugged landscape.

This embodies the archetypal rugged individualist. Its precision in costume and posture made it a visual blueprint for the “classic cowboy,” influencing popular culture’s enduring image of Western manhood.

Fight forthe Water Hole (1903).  Three cowboys take cover in a desert waterhole basin, rifles ready, as distant figures approach under a vast sky. Horses stand nearby; shadows hint at impending threat. In the Museum of Fine Arts, Houston.

A masterpiece of tension and survival, it popularized the idea of the arid West as a battlefield for scarce resources. Published in Collier’s, it blends action with psychological depth and bold composition, reflecting Remington’s maturing style.

Exemplifying Remington’s late nocturne series, it emphasizes atmosphere over narrative detail. Its purchase by the U.S. government highlighted his status as a major American artist and conveyed the vulnerability of even seasoned frontiersmen.

Arizona Legends and Lore

Custer’s Last Stand: Portraits in Time

Ten Most Important Old West Paintings

 

A Dash for the Timber (1889) by Frederic Remington. Cowboys race desperately across an open plain, pursued by Native American warriors in a cloud of dust and gunfire. This large-scale oil captures Remington's signature dynamic motion, tension, and realism. It epitomizes the perilous, action-packed myth of the frontier that shaped Hollywood Westerns and remains one of his most celebrated narrative works.

The Grand Canyon of the Yellowstone by Thomas Moran.  Dramatic, glowing vistas of the Yellowstone canyon with its waterfall, colorful cliffs, and steam vents, viewed from a high overlook with tiny figures for scale. Moran's intense colors and romantic scale (one version hangs in the U.S. Capitol) helped convince Congress to create Yellowstone as the first national park. It defines the sublime, untamed beauty of the West.

The Rocky Mountains, Lander's Peak (1863) by Albert Bierstadt. A panoramic valley scene with a Native encampment, lake, waterfall, and towering snow-capped peaks under luminous skies. Bierstadt's monumental, idealized landscapes promoted the West as a land of opportunity and grandeur, rivaling European masterpieces and influencing public imagination

The Last of the Buffalo (1888) by Albert Bierstadt. Native hunters on horseback pursue a dwindling herd of bison across a vast plain, with skulls and carcasses in the foreground. This late-career work laments the near-extinction of the buffalo and the changing fate of Indigenous peoples, blending Bierstadt's epic scale with a poignant historical message.

Fight for the Water Hole (1903) by Frederic Remington. Cowboys defend a scarce desert water source against attackers in harsh, sun-baked light. Remington's nocturnes and dramatic lighting shine here, highlighting survival struggles in an unforgiving environment and reinforcing his role as the premier chronicler of frontier conflict.

Emigrants Crossing the Plains by Albert Bierstadt.  Pioneers in covered wagons traverse vast, luminous Western terrain. Bierstadt romanticized Manifest Destiny and the hardships/joys of westward migration, making the landscape feel both welcoming and overwhelming.

When the Land Belonged to God by Charles M. Russell.  Vast herds of bison and Native hunters in open country before settlement. Russell's works often contrast pre-contact abundance with later changes, showcasing his skill with animals, movement, and authentic Western ecology.

Custer’s Last Stand: Portraits in Time

Arizona Legends and Lore

The Surrender of Lord Cornwallis

The Surrender of Lord Cornwallis

Artist John Trumbull served in the Revolutionary War as an aide to George Washington.  After the war he pursued a career as an artist.  In 1785 he began sketching out ideas for a series of large scale paintings to commemorate the major events of the American Revolution.  In 1791 he went to Yorktown, Virginia to sketch the site of the British surrender to General George Washington.

Some twenty five years later, Congress commissioned Trumble to paint four large paintings to be hung in the U.S. Capitol rotunda, one of these, The Surrender of Lord Cornwallis was completed in 1820, and depicts the surrender of Lt. General Charles, the Earl Cornwallis at Yorktown on October 19, 1781.  Trumbull received $8,000 for the painting (which would be approximately $200,000 in today’s money).

George Washington did not think that Yorktown would be the last battle of the Revolutionary War, and felt that it was his duty to keep the Continental Army together until a final peace treaty was signed.  Despite the devastating loss at Yorktown, loyalist militias continued to fight throughout the back country.

Peace talks began in April 1782.  A preliminary treaty finally came on November 30, 1782, more than a year after Yorktown. The final treaty was signed on September 3, 1783, and ratified by the Continental Congress early in 1784.

Hiram Powers, "The Greek Slave"

The Greek Slave

In 1844, American sculptor Hiram Powers completed a sculpture he called, “The Greek Slave”, which was to become one of the most popular art works of the 19^th century.  The statue is of a naked young woman, bound in chains.  In one hand she holds a small cross.

Powers described the work:

“The Slave has been taken from one of the Greek Islands by the Turks, in the time of the Greek revolution, the history of which is familiar to all. Her father and mother, and perhaps all her kindred, have been destroyed by her foes, and she alone preserved as a treasure too valuable to be thrown away. She is now among barbarian strangers, under the pressure of a full recollection of the calamitous events which have brought her to her present state; and she stands exposed to the gaze of the people she abhors, and awaits her fate with intense anxiety, tempered indeed by the support of her reliance upon the goodness of God. Gather all these afflictions together, and add to them the fortitude and resignation of a Christian, and no room will be left for shame.”

The statue became a rallying symbol for a number a groups.  In 1848, Lucy Stone saw the statue and broke into tears, seeing the statue as the symbol of man’s oppression of the female sex.  Stone took up the cause of women’s rights.  Abolitionists drew parallels between the plight of The Greek Slave and the plight of slaves in the American South.

Hiram Powers' studio produced six full-scale marble versions of The Greek Slave for private collectors.  The statue is now on display at the National Gallery of Art in Washington, D.C., among other places.

Love, Sex and Marriage in Victorian America